African musicians have long been fascinated by Cuban styles, but here was a rousing demonstration of what can happen when a great Cuban pianist becomes obsessed with Africa. "The first album I ever heard was Salif Keita's Soro," said Roberto Fonseca, as he introduced a band that included West African n'goni and the hand percussion kora, and – for just one song – the most successful young singer in Mali. Fonseca may have made his name by taking over from the great Rubén González in the Buena Vista Social Club, but his solo albums have proved that he is a dazzling performer who can match Cuban jazz with a remarkable variety of other styles. Here, the emphasis was on Africa and music from his new album Yo.

In hat, T-shirt, jeans and trainers, he looked more like a sportsman than a musician as he sat at the piano surrounded by an array of keyboards. He opened with a slow, drifting introduction, then eased into a muscular fusion workout entitled 80s, in which his stomping and rapid-fire keyboard work was matched against drums and percussion from Cuba and Africa.

The surprise of the night was an appearance by Fatoumata Diawara, who gave a powerful, stately treatment of Bibisa, backed by its composer Baba Sissoko on n'goni, with Fonseca providing intricate, sensitive piano flurries. She should have been invited back for more, but instead Fonseca switched to east European influences for the upbeat Bulgarian, followed by a lyrical tribute to the late Ibrahim Ferrer. Fonseca is the finest fusion exponent in Cuba.